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The author explores Ortega-y-Gasset’s contradictory attitude to modern art. As a possible reason for this ambivalence, we propose the assumption that, lying at the foundation of modern art is the same impulse that leads to the emergence and domination of “mass-man”. We consider Ortega’s interest in aesthetic issues as a way of exploring the unique transformation of the self-assertive hermetic vitality that Modernity experiences. The text focuses not on the purely aesthetic features of modern art, but on its ability to move beyond the boundaries of aesthetics in general, and the consequences of this movement. We claim that dehumanization is a historically determined means of derealization and that the path modern art chooses to return to its ontological essence is indicative of the spirit of the age in general.
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The paper offers a discourse and approach to Kant’s and Schelling’s vision of imagination and fantasy and attempts to illuminate the construction of the fantastic image. Kant separates fantasy as a spontaneous play of productive imagination, even though he admits its ability to create objects that “are not given in the experience”. According to Schelling, the total human activity in art is already a separate research object. This activity unfolds in the universe as a form of the absolute, in which the first images of ideas form the ideal world and determine each specific artistic image. The deduced conditions of the construction of the fantastic image (the pure continuum of intuition and a possible apperception of the image) establish the framework of a new thematic field – the philosophy of the fantastic.
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The article is a comment on Hans-Georg Gadamer’s concept of the work of art presented in his most significant work, Truth and Method. Gadamer’s view of the being of the artwork is consistently deduced from the broader context of the problem of truth in the humanities compared with truth in the natural sciences; and from the immanent positioning of the idea of aesthetic consciousness in the field of the humanities alongside historical, philosophical and hermeneutic consciousness, so that it attains the receptive-aesthetic interpretation of the artwork as playing that has gained an increase of being in terms of a “transformation into a figure”.
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The article focuses on José Ortega y Gasset's understanding of technique. According to this Ortegian understanding man imposes on nature his technological power not simply to satisfy his needs, but also as a manifestation of the continual conquest of reality. Through the prism of technique, the article presents an interpretation of the Spanish philosopher’s vision on the creation of being through incessant activity: man creates his own existence not only economically, but also metaphysically.Ortega y Gasset's conception of technology is also linked to another central theme in his philosophy – life as a radical reality. This issue is also discussed together with some pejorative social phenomena related to technological development like the crisis of desires, the acceleration of life, and the lack of interest on the part of the masses in the cultural conditions that make technological progress possible.
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The work is devoted to different forms of body art, where the author uses his own body as a material for making art. These art practices are related to questions about their ontological nature and the criteria for defining and distinguishing art and reality, object and subject, author and work of art. An Identification of different components of the art process - author, work, public, as well as the relationship biological–mechanical–virtual have also been considered.
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The article is about a dimension, referable by the concepts of ‘affectivity’, ‘emotionality’ and ‘sensitivity’. The issue addresses both the “disorder of habitual complicity with the world” and the fact that “our acting, talking, feeling and thinking begins as a response to ‘something’ indeterminable that comes from elsewhere”, i.e. to the narrative life experience in which there is enduring/undergoing or “being overwhelmed“ (Sabeva 2016: 241, 244). The subject-matter sets the task of explaining a common field. At its basis, sensitivity is the initial appearance of behaviors and things, because moods (Stimmungen) “throw” us or co-constitute us in the world; emotions are part of our worldly comportment where potential narrativity is equally important. Social attitude, which has its origin in existential “disposedness” (Heidegger 2005: §§ 29–31), sharеs some extraordinaries and gaps. In this process a limit of the self is reached, when one accepts the inevitability of what is being experienced, and self-understanding becomes alienated from one’s own position. The claim of the research is to add a point to the understanding of social integration in interdisciplinary studies.
More...Предисловие към превода на студията на Доротеа Фреде Въпросът за битието: Хайдегеровият проект
There are quite a number of controversially discussed difficulties that any interpretation of Heidegger's phenomenological philosophy faces. Prof. Frede’s study on Heidegger and the question of Being provides a clarification of the sense(s) in which the Seinsfrage came to vex the young Heidegger, in his early writings and in Being and Time. The present preface to the translation of her study is limited in its aims to an outline of the very positions he occupies with respect to two of the notorious interpretative issues concerning Heidegger’s project of fundamental ontology: (1) The problem of how to specify the very complex meaning (not of the Being per se, but) of the enigmatic Seinsfrage itself, since we must, to be sure, have some answer to the preliminary question “What exactly does Heidegger’s problem of Being consist in?” in order to raise anew the question “What is the meaning of Being?”. It just cannot possibly be known “What is the sense of Being?”, without having recourse to the meaning of the Seinsfrage itself. However, as Heidegger’s thinking evolved, the meaning of the question changed. (2) The problem of the different interpretative approaches (life-philosophical, existentialist, anthropological, metaphysical, scholastical, phenomenological, transcendental, hermeneutic-historical, deconstructivist, pragmatist) to the main exposition of the Being-question in Heidegger’s magnum opus and their critical evaluation.
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Prof. Frede’s study aims to analyze Martin Heidegger’s famous Frage nach dem Sinn vom Sein in relation to his severe criticism of, and hidden dependence on, the tradition of Western metaphysics. The study offers an interesting pluralistic approach, according to which specific meanings of die Seinsfrage correspond to the different phases of the development of Heidegger’s thinking. It traces above all the formulations that this remarkable question received in his early works (The Doctrine of Judgment in Psychologism: A Critical-Theoretical Contribution to Logic and Duns Scotus’ Doctrine of Categories and Meaning) and in his magnum opus. The study represents a big and complex philosophical domain not only through historical-philosophical investigations, but also as a result of a critical account of basic statements of Heidegger’s thought. It also clarifies some of the reasons why the forgetfulness of Being (die Seinsvergessenheit) was proclaimed by Heidegger as the most significant omission in the entire history of Western philosophy. But is this fateful omission capable of rectification, and can it be taken for granted that it is in need of some rectification?
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In the present experimental text I will show how thinking the body as an image-body refers to the impossible figures of its infinite 1) heterosimultaneous opening (unfolding the layers to the figure of a monster) and 2) shrinking to a point of impossibility (of narrative suspension, freezing in a figure) – which are two ideal poles. This double impossibility constitutes a fracture, conceived through illustricture as a (meta)figure. The collaborative work of two models – that of the Galilean pendulum, adapted for stage production, and the topological-quantum model of Deleuze and Guattari – will serve to analyze modalizations, in which analysis, alter-potentiality will be tested as a non-classical alternative in different contexts of subjectivation. The disjunctive synthesis of points from co-impossible surfaces, in the perspective of the connected models, allows us to think as unpredictable the development of the conceptual potentiality of autopoietic production beyond the stopping point of figuring in a figure
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The word intuition is widely used as an umbrella term both in the non-specialized everyday environment and in specialized humanities literature. It is often accepted unconditionally, even though there is a lack of consistent and satisfactory attempts to clearly define the notion. In the field of philosophical inquiries, it is a common practice to use the notion of intuition as an implicit argumentative component as well as a guarantor of legitimacy in the unfolding of speculative “discourses”. Taking this to be the prevailing case, considering the term in question from a neurobiological perspective seems to be a somewhat productive endeavor insofar as it can provide clarity on the physiological prerequisites involved in the realization of the specific subjective attitudes and dispositions, the latter of which play a certain role in the adoption of rationally substantiated arguments and conclusions. A number of scientific studies report a direct correlation between the higher cognitive functions, responsible for the making of logico-rational inferences, and the limbic system, which governs the manifestation of unreflected irrational attitudes and reactions. In the light of such empirical evidence, any frivolous usage and reference to methodological components such as “rational intuition” seems highly problematic, to say the least.
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The main objective of this paper is to provide a hermeneutical reading of dreams as these are presented by René Descartes. The choice of the mnemocentric approach plays a crucial role when analyzing the way in which Descartes presents three of his dreams. The three are examined from the perspective of three main corresponding propositions put forward for consideration. The analysis of Descartes’ dreams shows that reaching the path of truth, which concerns both the process of dreaming and what is dreamt, is closely tied not with the return to Paradise, but with the fulfilled prophecy of the Revelation. The author raises the issue whether or not the basic dream that marks the philosophically tinged unconscious, as is displayed by Descartes’ dreams, embodies the hope that one day, when language, with its polysemy, will have disappeared, people will finally succeed in contemplating truth surrounded by unspeakable silence.
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The article proposes the hypothesis of a modal turn in Kant’s critical corpus, determining the crucial role of transcendental philosophy both for the development of a new critical ontology and for the attempt at its supercritical radicalization. The modal hypothesis in question is essentially a reversal of the modal convention in the most significant vein of contemporary ontological projects, which privileges possibility at the expense of reality or action, of potentia at the expense of actualitas – a vein I have earlier defined as ontology of potentiality. The modal reversal to which the proposed radicalization of transcendental philosophy will seek to contribute affirms a radical alternative. In stark contrast to the ontologies of potentiality, it will be argued that the modality of necessity is essential for an ontology of existence based upon the idea of freedom. The fundamental connection between freedom and necessity established by Kant, allowing the transition from theoretical to practical philosophy, mobilizes the attempt to radicalize transcendental philosophy along the line of modal ontology of existence.
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The following text attempts to reconstruct the system of modal notions in Novalis’ fragments in their immanent dynamic and transitivity, or, alteration. The first task would be to outline the structure of the concepts of potentiality and actuality and more precisely to break through the idea of a tendency of actuality towards Ansatzpunkt, ἔργον and to bring forward what defines and liberates activity, or preserves its free, poietic potential. A question, which arises from this, would be: what guarantees the maximum freedom, maximum potentiality, immanent within actuality? The expansion of the conceptual fields of the notions of potentiality and actuality, which can be traced back in the debates of German thinkers such as Spinoza, Leibniz, Kant and the German romanticists, allows us to define more precisely the core of endless potentiality within actuality. It is possible then to draw a structural similarity between potentiality within actuality and the energy of potentiality. A question follows: is it possible to find symmetric structures between persistence, as the fourth meaning of Aristotelian potentiality and the active potentiality within actuality? Does the resistance towards Ansatzpunkt guarantee potentiality within actuality? Are potentiality and actuality two modalities, which project their functions, aspects and meanings into one another, mirror their immanent dynamic, and without tending toward dialectic synthesis, tend to im-plant infinity within the finite, to outbreak, to fragment finality and actuality from within? The modalities of necessity and desire are presented as crossing this modal dynamic and possibly as meta-modalization of the modalities of potentiality and actuality, which also bend the coordinates of our experience, incline into existence.
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The article is devoted to a phenomenological clarification of the principles of architecture. The author generally follows the logic of the presentation in Vitruvius’s treatise Ten Books on Architecture, but also uses elements of the speculative deduction of architectural elements in Hegel’s Aesthetics. Heidegger’s ontological designation of man as Dasein is interpreted as inhabiting; thus, the author attempts to establish a link between the ontological and the architectonic aspects of human existence.
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The author emphasises the importance of Fichte’s ideas from the Wissenschaftslehre for the contemporary philosophy of mind and the problem of consciousness and self-consciousness. Inspired by Henrich’s work on Fichte’s original insight and by subsequent Frank’s widening of the problem in connection with contemporary analytic theories, I point out some rudimentary intersection of ideas and problems. These problems include, but are not limited to: (1) the difference between I-subject (conceptualised as the always-subject of consciousness) and I-object (that same I-subject taken as an object for itself); (2) the problem of the relation of the I (self-consciousness) and consciousness – how exactly is the I ‘in’ consciousness? This issue is best expressed in the egological and nonegological theories of consciousness. This point will be expanded into (3) differentiation of self-consciousness as sui generis mode of consciousness and consciousness proper, or intentional consciousness that has a (proper) object. The former cannot be explained by the latter on the basis of its immediacy, directedness, and pre-reflectivity – consciousness can’t “have” itself as an object for itself and yet, always be able to recognize itself in its object. The egology of Wissenschaftslehre sees the I as, at the same time, pure, transcendental, and logical, and yet as concrete and individual. This enables self-consciousness to no longer be explained by reflection and object consciousness, but at the same time opens the problem of the nature of that self-relation of consciousness and the original duplicity contained in it. It shall be demonstrated that (self-)consciousness is the condition of possibility of (self-)reflection and not the other way around. I will also argue for the role of immediate and pre-reflective self-awareness in the agency of the subject and as his basis of action in the world – an activity which doesn’t have an immediate relation to the I, or the self (in such a way that the I is aware that ‘it’ did that), should be regarded as a nonconscious activity, not different from sleepwalking. Yet, the Kantian problem of the relation between the pure I and the psychological I (or self) will be left unanswered. The proposed solution will be that the I in itself is self-conscious, but is not conscious – meaning that it ‘is’, yet any explicit consciousness of it renders it as an object. In other words: we can be conscious of an object and at the same time self-conscious (not as a consciousness of self, but as ‘auto-consciousness’). The benefit of this solution is that it still leaves open the possibility to be conscious of oneself as an object and remain self-conscious at the same time. But, the proposed solution is faulty in its own way, because it doesn’t account for the original “duplicity” in self-consciousness, i.e. that the I is and at the same time is for itself. Nevertheless, insights Fichte has made are invaluable for the conceptualization of consciousness and self-consciousness in contemporary theories and should be analyzed, if for nothing else, then to better formulate and explicate those notions.
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The article treats Ludwig Wittgenstein’s manuscripts and typescripts where he formulates the problemof impossibility of “phenomenological language” defined by him as the “description of immediate sensual perception without any hypothetical supplementation.” One may find this phase of his philosophy(1929–1933) a bit paradoxical because the philosopher claims this phase, from the very beginning,to have been overcome; we deal here with philosophical self-criticism. The Lewis Carroll’s paradox isconsidered in terms of analogy to this criticized project of “phenomenological language”—the paradoxof a ridiculously exact map which coincides with the mapped area. We open up new possibilities forcomparison between the Wittgensteinian project of the “primal language” and Husserlian, Heideggerian and Finkian projects of “phenomenological language.”
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Eğer felsefe üzerine bir miktar kurulma noktası belirlersek belki neyin üzerine konuştuğumuza dair bir düşünce çerçevesi oluşturma imkânımız olur. Bu çerçevede öncelikle sinema ve felsefe arasında nasıl bir ilişki kurulmalı ve daha sonra Yeşilçam sineması ile felsefe arasındaki ilişki meselesi üzerine bir çerçeve oluşturulmalı.
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The subject of this article is the Latin reception of Averroes’s treatise De substantia orbis, with special regard to the commentary practice in the late Middle Ages. Numerous philosophical problems were taken up in these commentaries following Averroes’s lead. The most controversial among them were these concerning divine attributes, i.e., infinite power, efficient and final causality, and, consequently, God’s ability to create out of nothing. Three different commentaries were therefore chosen to exemplify the key differences between the doctrinal approaches of the commentaries on the De substantia orbis. The first two of them—composed by Fernand of Spain and Maino de’ Maineri—represent the exegetic approach, adopting and developing Averroes’s ideas; the third commentary—composed by an anonymous author in Erfurt around 1362—represents the critical approach referring to the questions raised in the De substantia orbis in order to propose orthodox solutions being far from these adopted in the treaty by Averroes himself. The article aims at scrutinizing the problems of infinite power of God and divine causality as they have been taken up by Latin philosophers from the late 13th to the second half of the 14th century by elucidating the key differences between the two lines of inquiry and highlighting the variety of approaches to Averroes’s De substantia orbis.
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